It goes by crazy quick, using the same blaring horn sound from SFF throughout.

"The pump don't work cause the vandals took the handles!"

-Bob Dylan, Subterranean Homesick Blues

"We could ride and surf together while our love would grow"

-Brian Wilson, Surfer Girl

3 October 20173.17pm

Martha

Candlestick Park

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I've had a pretty crazy experience with this song today.

I had to play an important concert for which my ensemble partners and I had practised really hard over the last days, unfortunately, the cold I have had all the time had got worse and on top, I got a nice little fever. So to be able to play the concert anyway I took all sorts of medications against fever and against sinusitis and whatever and laid down in bed while the others were practising. From all the medicine and the fever, I felt really druggy, so what do you in a situation like this? Naturally, you plug your headphones in, close your eyes, and listen to Revolution 9
! (I've always wanted to experience Revolution 9
while being high and that feeling felt like the closest I'll ever get to being high so I had to take the opportunity)

Anyway, that was honestly THE BEST listening experience I've ever had with Revolution 9
. All sorts of crazy pictures appeared in my head and I heard noises I've never noticed before. The best was the ending though. At 'take this brother, may it serve you well', I suddenly saw someone with a sword before me who swung it in my direction while saying these words and from one moment to the other, I felt like floating above my body, rising higher and higher, until I was in space (this is the place with all the spacey noises in R9). But I was not only in space, I was in fact at a really special place: I was in John's room! Yes, in my imagination John had a room with four stone walls floating somewhere above the earth! He was sleeping and muttering things in his sleep while he held a framed picture of Yoko in his hands and Yoko's voice came from giant speakers saying all the things about 'if you become naked' and so on (I know it's not actually Yoko but in my imagination it was) and everytime she spoke John smiled in his sleep.

One really creepy thing was that I accompanied John through his life all the time. Where the baby screams came, for example, I stood in hospital next to his bed and the doctor kept repeating number nine, standing in front of a calendar which showed October 9. Then there were scenes in school where John played the fool and was bullied one time, then he was in the Beatles and everything escalated resulting in a big riot in front of the dentist's (the LSD dentist) house which they actually also set on fire. In the riot, I lost sight of John and when I was looking for him the guy with the sword killed me and then there came the scene I already described.

I still need to digest this, what an incredible journey this song is! But I forgot to thank imaginary John for everything he did for us including Revolution 9
, feck!

The following people thank Martha for this post:

The Hole Got Fixed, SgtPeppersBulldog, sir walter raleigh, Ahhh Girl

Not once does the diversity seem forced -- the genius of the record is how the vaudevillian "When I'm 64" seems like a logical extension of "Within You Without You" and how it provides a gateway to the chiming guitars of "Lovely Rita. - Stephen T. Erlewine on Sgt Pepper's

It certainly raises more questions than answers if you're looking for some logic behind the decision to continue to leave 'Carnival Of Light
' secured away from the public... I mean, here you have Paul speaking favourably about the avant garde genre and even hinting at wanting to reveal 'Carnival Of Light
' to the world one day, yet it sounds as though he is the one who was most against including 'Revolution
#9' on the 'White Album
'... or, how about George? the one said to have blocked it from inclusion for the 'Anthology' project but, according to various sources, his input on 'Revolution
#9' is quite significant... Most puzzling indeed...

I also came across this nice interview clip with John on the making of 'Revolution
#9'... What's interesting to me, after hearing this, is that the "sound collage" label that often gets attached to 'Revolution
#9' isn't exactly accurate... I mean, yes, there's a lot of random bits thrown together and all but the final mix was essentially a "live performance" by John.... or "live painting" as he put it:

It certainly raises more questions than answers if you're looking for some logic behind the decision to continue to leave 'Carnival Of Light
' secured away from the public... I mean, here you have Paul speaking favourably about the avant garde genre and even hinting at wanting to reveal 'Carnival Of Light
' to the world one day, yet it sounds as though he is the one who was most against including 'Revolution
#9' on the 'White Album
'...

The fact that John insisted on getting his scrambled leggs piece onto an album probably peeved off Paul because, 'John gets his on an album and I didn't' kind of mentality.
It also might've been the tension between them in 1968, which maybe was why John pushed against everything Paul did and Paul pushed against everything John did.

George's inclusions on Revolution 9
... Well... Paul wasn't there and with Paul and George not getting along great, maybe he picked sides.

Anyway, those are my (inaccurate and mostly misled) thoughts.

I am you as you are you as you are you and you are all together.

19 November 201711.27am

vonbontee

Inside an Apple Orchard in a Letterbox

Rishikesh

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Personally I like "sound montage", it's more suggestive of events in a sequence. Montages move, like Rev 9 and unlike collages...anyway, excellent article, BR, thanks for that!

I remember George saying 'Blimey, he's always talking about “Yesterday”, you'd think he was Beethoven or somebody' - Paul McCartney

19 November 20171.19pm

Father McKenzie

Liverpool England

Candlestick Park

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I think it's quite clever,even though it's not my cup of tea personally,but I appreciate it for what it is,a sound collage. Apparently,John was the only one who wanted it on the album

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